From actor to producer, this is an important step and a different story.
As an actor, you only need to perform your role.
As a producer, you have to deal with funding, management, planning, and more.
Moreover, Anson has only been in Hollywood for just two years, and his body of work is limited. Now, he's looking to take another step forward by challenging himself to take on a producer role, which comes with more challenges and complexities.
Of course, what Anson has noticed, Edgar couldn't possibly miss either.
Edgar nodded, "That's true."
"But in fact, you have two choices."
"First, you can continue to focus on acting."
"When movie studios and producers are selecting projects, the first thing they usually look at isn't the script but the names associated with the project."
"So, when screenwriters and producers submit a project, they often include a cast list — a list of actors suitable for each role."
"First choice, second choice, third choice."
"It doesn't matter if these actors will actually take the roles or not. Just listing some big names works: Leonardo DiCaprio, Julia Roberts; Brad Pitt, Jennifer Aniston — you can list anyone as long as you can convincingly explain why they're suitable for the script."
"This makes it easier to attract attention and gives a more intuitive display of the project's creative direction."
"Now, having your name associated with a project can attract attention just the same."
"You don't need to become a producer; a project will naturally have a producer step in."
"Second, you can become a producer, taking on the responsibility of finding investors and production companies. You can further broaden your horizons beyond acting."
"Of course, the prerequisite is that you have enough confidence in the project, believing that it can succeed and become a noteworthy addition to your résumé."
Edgar paused.
He still decided to be honest and openly express his thoughts.
"This is also one of the advantages of choosing smaller projects."
"We can use the current situation to gain more options for ourselves."
"If you're always involved in big projects, you remain passive and must follow the lead of the studios. But right now, having just one 'Spider-Man' series is enough for big projects. We should open more avenues in other areas."
So that's how it is.
Anson shrugged lightly, "I have no objections."
Edgar: … That's it?
He had just given such a lengthy explanation, and Anson agreed with such a light response?
But thinking about it seriously, that's just who Anson is. This is also why Edgar admires him.
At the very least, he and Anson have reached a consensus again, which is good news.
Edgar chuckled in disbelief.
"This project, the script is unique, and it's not the type that studios typically like; plus, the two directors-slash-writers have proposed a budget as high as twenty million dollars…"
That's enough to say—
For screenwriters transitioning to directors and shooting their first film, asking for a twenty million dollar investment right off the bat is unusual unless they're Aaron Sorkin. Few producers or studios would be willing to take that risk.
Here, Anson had a question, "Why didn't they hand it over to other directors? Very few screenwriters want to switch careers to become directors, after all. Scripts and films use completely different languages."
"Because they have spent seven years on this script," Edgar gave a surprising answer that was quite shocking.
Anson immediately understood, "I see. The script moves through different timelines and results in different outcomes, which means the shoot could be very chaotic, with one scene not linking directly to another, leading to timeline confusion during filming."
"Seven years. Wow, they must be the only ones who can fully grasp what they're doing at any moment. At least, that's what they believe."
Edgar spread his hands, noncommittal, "Maybe you could convince them to let another director handle the script. I believe there are directors who could manage it."
Anson's attention was elsewhere, "They spent seven years on a script. How do they make a living?"
That's quite a tangent.
Edgar still explained, "This isn't their first collaboration. Do you know the horror movie 'Final Destination'? They were behind the first and second movies, which brought them decent earnings."
A bit unexpected.
But thinking about it, "Final Destination" and "The Butterfly Effect" both explore the concept of fate. The latter takes the philosophical inquiry a step further based on the former, so it makes sense.
"Of course, I suspect this is also why they've poured so much energy into this project, becoming somewhat obsessive, insisting on directing it themselves."
"Actually, for this reason, I have some reservations."
Edgar didn't just praise the project because he recommended it.
Anson looked over.
Edgar added, "Being overly obsessive and stubborn, they're likely to think their script is perfect and won't allow producers or actors to interfere, which isn't conducive to collaboration."
"Otherwise, they aren't nobodies. Having written two scripts that performed well at the box office, how could this project have stalled for so many years without finding a willing producer or studio?"
"Maybe they've scared them all away."
Indeed, that's a possibility and a rather tricky one.
Anson didn't rush to any conclusions either; he raised his chin slightly, thinking for a moment.
"Let's meet with the two directors-slash-writers first and see if they're even satisfied with me as an actor."
Edgar disagreed, "What do they have to be picky about?"
Anson burst out laughing, "Before confirming a partnership, it's naturally a two-way selection process. We can pick them apart, and they can also reject us. After all, the script is theirs."
Edgar pursed his lips, "I don't think they have any room to be dissatisfied. It's been seven years, and they still haven't started the project. Hollywood isn't short of scripts that take twenty years to see the light of day."
That's true.
In 2019, Ang Lee and Will Smith collaborated on "Gemini Man." The script for this film was created in the early 1990s, shelved for nearly thirty years before finally being released, but because the themes and story didn't keep up with the times, the film's quality was disappointing.
Anson wasn't too concerned, "I know, we're starting to gain some say now, but there's no need to rush. This is just the beginning. Not long ago, I was like them, just starting to make some progress in Hollywood, hoping to go further. Acting like a diva now would be premature."
That one sentence left Edgar stunned for a moment, then a smile crept up on his face, "Usually, it's the agent advising the actor not to act like a diva. Here, it's the actor advising the agent."
Edgar didn't mind the self-deprecating humor at all.
Seeing that Edgar got the point, Anson didn't say much more, "I like the direction we're heading in. Just look at James; his agent focuses on choosing big names — big directors, big actors — using these collaborations to build connections and eventually open up more opportunities."
Different agents, different strategic directions.
For now, Anson feels that his collaboration with Edgar is on the right path.
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